Thursday, 29 March 2018

It has just been over five years since Kim Lowings and the
Greenwood first crossed my path with the realisation that sometimes you do not
have to venture too far from your home to discover great new acts. The added
bonus has been to see them blossom across many shows over the ensuing period and
widen their repertoire considerably. From that first night at Katie Fitzgerald’s
in Stourbridge, another eight venues across the West Midlands join the list,
ranging from the quirky surroundings of Scary Canary to the lavish setting of
Moseley Park, home of the annual big name folk festival. Each occasion (and
there has been multiple ones at some of the venues) brings out the best in Kim
and her band, with the Red Lion Folk Club in Birmingham ensuring this upward
trajectory is maintained.

While this was not their first appearance at the venue, it
was good to catch them in a different setting, although their music usually
commands an attentive listening audience wherever played. Across the two sets,
the songs blew a breadth of fresh air as the new album beds in alongside established favourites. Of course, time
waits for no decent act and the future is already in motion with new material.
From memory, a quartet of songs had their first airing in my presence this
evening. A traditional Canadian folk number titled ‘Jones Boys’ was introduced as a step into the future, with Kim
continuing to scroll the archives to supplement her own writing.

This quartet began right at the start of the set with an instrument-free
version of the Dick Gaughin passionate ballad ‘Workers’ Song’, before Kim eased into her musical role of dulcimer,
and this evening a rare foray into some acoustic guitar work. Sadly, there was
no piano available to deliver the stunning twin peaks of the WILD AND WICKED
YOUTH album, but the well of material is still considerably stocked. Another
song not heard before was ‘Beggar Man’,
which Kim has included on a new covers release as part of the Pledge process
for the album. Stocks are limited, but check out the Bandcamp download link
below, and amongst other tracks selected by her valued sponsors is the gorgeously
sung ‘TheLittlest Birds’. This is a long
term live favourite and a rendition that stands proudly alongside the Be Good
Tanyas original.

The final song not heard before was a cover of Joni Mitchell’s
‘Carey’. While she has previously
covered the great lady at gigs I attended, I am quite sure it was not this classic.
Anyhow, somebody requested it this evening; Kim decided to go off piste and did
a grand job.

Of course, there was plenty of familiar Greenwood material
to savour as well. Originals like ‘Stay’,
‘Lullaby’ and ‘Maggie’s Song’ continue to shape up admirably against borrowed
pieces like ‘Away Ye Merry Lasses’
and arrangements of traditional numbers such as ‘Bold Riley’ and ‘Oh the Wind
and Rain’. We even had a version of the old standard ‘Shady Grove’ this evening, with Kim
admitting it had been a long time since featuring in a set. On similar
lines, I cannot recall hearing the stirring Scottish song ‘Annie Laurie’ too frequently recently, but there was no harm in it returning
to the fold tonight. This song always brings back memories of the superb video
that accompanied it a few years back.

It was interesting to note that the show did not feature the
usual closer ‘The Begging Song’.
While a folk staple, its connotation has perhaps been slightly impeded by the proliferation of homeless people in towns across the land.

While the sound of Kim and her usual backing trio was
adorable all evening, the choice of the organisers to enlist the services of
Paul O’Neill to open proceedings gave the event an extra sparkle. A stalwart of
the Celtic folk scene as front person for the Roving Crows, the solo work of
this exiled Irishman (I know he is not alone) is less familiar. However, more
of the fare served up in this near fifty-minute opening slot will knock down a
few doors. Songs and stories entwined as the quintessential troubadour set
about turning observations into catchy songs, ripe to engage with a receptive
audience. There were similarities in a blend between Steve Knightley and Paul
Brady, alongside an inching towards the country side of folk. Subjects such as
family, God, fun in Barcelona and casual acquaintances all got the song writing
spin and if you had not come across the work of Paul O’Neill before, there was
ample on show to check him out. Although this will become easier when he keeps the
promise of recording some of these songs

The recorded format has been kind to Kim Lowings and the
Greenwood. The three studio albums plus an EP and now this covers release will
keep grounded fans happy, while there is always a fine show around the corner
for those willing to branch out and engage with live music. Hopefully, the tenth
different venue to host a gig in terms of this blog's reviews will surface
before the year is out. The chances of at least equalling this night are
guaranteed, with the added anticipation that things are likely to get better.

Three Chords and the Truth UK

Take the cliche as your starting point before branching out where the music matters. A blog using the medium of 100% original writing to convey some personal thoughts on live and recorded music through the prism of the time honoured review.

About Me

This blog had its inception in January 2012 and is designed to share personal thoughts on music that appeals. These are through highly filtered album and gig reviews which distinctly reflect personal preference. All reviewed recordings are from submitted material thus only reflect a portion of current taste, albeit generally representative. Live reviews tend to be the bulk of those attended. These do include some guest list spots for performers and events that appeal. Time constraints and ethos will always dictate a positive tone that is well served by the offline filter system. Fundamentally these are the sole thoughts of one individual and in essence a 'personal vanity project'.